Vaikų ir jaunimo kultūrinio ugdymo koncepcijoje teigiama (2008), kad mokyklose, kurios skiria daugiau dėmesio kultūriniam ir meniniam ugdymui, aktyviai kūrybinei ir praktinei mokinių veiklai, išauga mokymosi motyvacija, pagerėja psichologinė mokymosi aplinka, sustiprėja bendruomeniniai ryšiai. Mokiniai kur kas geriau įsisavina įvairių dalykų mokomąją medžiagą, tampa patrauklesnis pats mokymosi procesas, atsiranda papildomų sąlyčio taškų su realiu gyvenimu ir kultūrine aplinka (2008). Akivaizdu, kad meninis ugdymas mokykloje yra svarbus ne tik ugdant mokinių meninius gebėjimus, bet ir kuriant mokyklos kultūrą, o šokio pamokose sukurtos sąlygos, gali suteikti mokiniams galimybę patirti džiaugsmą, susijusį su kūrybinės iniciatyvos, saviraiškos atskleidimu. Pagrindinio ugdymo šokio bendrosiose programose (2008) akcentuojami įvairių žanrų (liaudies, pramoginio, klasikinio, šiuolaikinio, breiko ir kt.) šokio žingsniai, jų deriniai, šokiai ar jų fragmentai. Nors klasikinis šokis ir yra paminėtas šokio ugdymo programose, tačiau nėra aišku, ar jis yra mokomas bendrojo lavinimo mokyklose. Daugiausia šokio ugdymo srityje yra akcentuojamas lietuvių liaudies sceninis šokis ir tik kartais užsimenama apie klasikinį (baletą). Taigi, kodėl klasikinio šokio mokymo galimybė bendrojo lavinimo mokykloje yra labai maža, nors šio žanro mokymas yra naudingas mokinio asmenybės tobulėjimui, lavina kūno laikyseną, ugdo kantrybę ir ištvermę, todėl klasikinio šokio mokymas bendrojo lavinimo... [toliau žr. visą tekstą] / Children and youth cultural education concept states (2008), that schools which focus more on cultural and artistic education, active students' creative and practical activities, increase their learning motivation, improve the psychological learning environment, as well as make community relations stronger. Students master educational materials for various subjects, much better the learning process becomes more attractive, that results in additional points of contact with real life and cultural environment (2008). It is clear that arts education in school is important, not only in developing students' artistic skills, but also in creating school culture, and conditions created in dance lessons may give students the opportunity to experience the joy associated with the creative initiative of detection of self expression. Basic dance education programs in general (2008) highlights dance steps of various genres (folk, ballroom, classical, contemporary, break, etc.), their combinations, dances or their fragments. Although classical dance is mentioned in education programs, but it is not clear whether it is taught in comprehensive schools. Lithuanian folk stage dance is mainly highlighted in teaching dancing and only occasionally it is hinted at the classical one (ballet). So why the possibility of teaching classical dance in comprehensive schools is very low, although teaching this genre is useful for students personal development, developing the body posture... [to full text]

A presente tese, Narrativas sobre o ensino da dança: caminhos tramados e traçados em escolas do Rio Grande do Sul, investiga como se constitui as identidades do professor de Arte/ Dança na escola diante do recente processo de curricularização dessa prática. A Dança contemporaneamente assume o status de área de conhecimento e saber disciplinar na escola, processo esse, desencadeado no Rio Grande do Sul, pela emergência de várias graduações em Dança nos últimos anos, assim como um conjunto de práticas que possibilitaram a realização de concursos públicos para o professor licenciado em Arte/ Dança. Dessa forma, selecionei a entrevista como a principal ferramenta para obtenção das narrativas das professoras que atuam ou atuaram em escolas de diferentes redes de ensino do Rio Grande do Sul. O material analítico consistiu nas narrativas de 9 professoras entrevistadas presencialmente e 1 através de email, entre 2012 e 2014; outros materiais como editais de concursos, acompanhamentos de nomeações, legislações e documentos foram também entremeados ao texto no sentido de atender a questão principal do estudo. A pesquisa situada no campo teórico dos Estudos Culturais em Educação na vertente pós-estruturalista, articulou-se com alguns referenciais da Dança e da formação de professores, e a partir de alguns conceitos chaves como identidades, narrativas e discursos procuramos realizar uma análise cultural, a qual nos possibilitou evidenciar que: uma nova posição identitária, - o professor de Arte/ Dança -, emerge no contexto sul-rio-grandense, a partir das práticas discursivas que posicionam a Dança como uma área de conhecimento e disciplina escolar. Essa identidade não é fixa, nem estável, é constituída por múltiplas experiências advindas de suas formações como bailarinos/ dançarinos, como acadêmicos da Dança e, principalmente, pelo exercício da profissão no cotidiano da escola, o que lhes permite construir uma “outra” dança decorrente do processo de curricularização dessa prática. Essa outra dança não é algo classificável em um estilo ou outro, carrega traços dos discursos contemporâneos acerca da dança, mas é forjada no dia a dia da escola, delimitada por suas paredes substantivas e subjetivas do disciplinamento da modernidade, assim como pelos sujeitos contemporâneos que nela transitam. Essa intensa relação tensiona o professor de Arte/ Dança a criar modos de ensinar particulares adequados às diferentes realidades que podemos nomear escola, a qual cobra continuamente certezas em termos metodológicos. Emerge então nesse contexto não somente outra dança, mas também outro professor de Dança advindo dessa experiência singular na escola. / The thesis Narratives about dance teaching: paths woven and designed in schools in Rio Grande do Sul investigates how Art/Dance teacher’s identities are shaped in the school amidst the process of curricularisation of this practice. Today dance assumes the status of field of knowledge and disciplinary knowledge in school, this process being unfolded in the state of Rio Grande do Sul through the emergence of many degrees in dance in recent years, as well as a set of practices enabling art/dance teachers to public selection exams. Therefore I selected the interview as the main tool to draw narratives by female teachers working in different kinds of schools in the state. Nine female teachers’ presential narratives, one through email between 2012 and 2014 made up the analytic material; and other materials, such as public selection exam announcements, assistance in appointments, legislations and documents were interspersed in the text to see the key question in the study. The research is located in the theoretical field of poststructuralist Cultural Studies in Education, and was articulated with some referentials of dance and teachers’ formation. Based on some key concepts such as identities, narratives and discourses, we have sought to conduct cultural analysis to show that with a new identity position the art/dance teacher emerges in Rio Grande do Sul context from discursive practices positioning dance as a field of knowledge and school discipline. This identity is not stable; it is shaped with multiples experiences resulting from their dancing formation, dance academic courses and, chiefly, by the exercise of the profession in the everyday school, which allows them to construct ‘another’ dance from the process of curricularisation of this practice. This another dance cannot be categorised in one or other style, it has traces of contemporary discourses about dance, but is forged in the daily school restricted by substantive subjective walls of modernity disciplining, and by contemporary subjects circulating there. This intense relation urges the art/dance teacher to create particular ways of teaching for different realities we can call school, which demands continuous certainties in methodological terms. In this context, not only another dance, but also another dance teacher comes out of this unique experience at school.

A presente tese, Narrativas sobre o ensino da dança: caminhos tramados e traçados em escolas do Rio Grande do Sul, investiga como se constitui as identidades do professor de Arte/ Dança na escola diante do recente processo de curricularização dessa prática. A Dança contemporaneamente assume o status de área de conhecimento e saber disciplinar na escola, processo esse, desencadeado no Rio Grande do Sul, pela emergência de várias graduações em Dança nos últimos anos, assim como um conjunto de práticas que possibilitaram a realização de concursos públicos para o professor licenciado em Arte/ Dança. Dessa forma, selecionei a entrevista como a principal ferramenta para obtenção das narrativas das professoras que atuam ou atuaram em escolas de diferentes redes de ensino do Rio Grande do Sul. O material analítico consistiu nas narrativas de 9 professoras entrevistadas presencialmente e 1 através de email, entre 2012 e 2014; outros materiais como editais de concursos, acompanhamentos de nomeações, legislações e documentos foram também entremeados ao texto no sentido de atender a questão principal do estudo. A pesquisa situada no campo teórico dos Estudos Culturais em Educação na vertente pós-estruturalista, articulou-se com alguns referenciais da Dança e da formação de professores, e a partir de alguns conceitos chaves como identidades, narrativas e discursos procuramos realizar uma análise cultural, a qual nos possibilitou evidenciar que: uma nova posição identitária, - o professor de Arte/ Dança -, emerge no contexto sul-rio-grandense, a partir das práticas discursivas que posicionam a Dança como uma área de conhecimento e disciplina escolar. Essa identidade não é fixa, nem estável, é constituída por múltiplas experiências advindas de suas formações como bailarinos/ dançarinos, como acadêmicos da Dança e, principalmente, pelo exercício da profissão no cotidiano da escola, o que lhes permite construir uma “outra” dança decorrente do processo de curricularização dessa prática. Essa outra dança não é algo classificável em um estilo ou outro, carrega traços dos discursos contemporâneos acerca da dança, mas é forjada no dia a dia da escola, delimitada por suas paredes substantivas e subjetivas do disciplinamento da modernidade, assim como pelos sujeitos contemporâneos que nela transitam. Essa intensa relação tensiona o professor de Arte/ Dança a criar modos de ensinar particulares adequados às diferentes realidades que podemos nomear escola, a qual cobra continuamente certezas em termos metodológicos. Emerge então nesse contexto não somente outra dança, mas também outro professor de Dança advindo dessa experiência singular na escola. / The thesis Narratives about dance teaching: paths woven and designed in schools in Rio Grande do Sul investigates how Art/Dance teacher’s identities are shaped in the school amidst the process of curricularisation of this practice. Today dance assumes the status of field of knowledge and disciplinary knowledge in school, this process being unfolded in the state of Rio Grande do Sul through the emergence of many degrees in dance in recent years, as well as a set of practices enabling art/dance teachers to public selection exams. Therefore I selected the interview as the main tool to draw narratives by female teachers working in different kinds of schools in the state. Nine female teachers’ presential narratives, one through email between 2012 and 2014 made up the analytic material; and other materials, such as public selection exam announcements, assistance in appointments, legislations and documents were interspersed in the text to see the key question in the study. The research is located in the theoretical field of poststructuralist Cultural Studies in Education, and was articulated with some referentials of dance and teachers’ formation. Based on some key concepts such as identities, narratives and discourses, we have sought to conduct cultural analysis to show that with a new identity position the art/dance teacher emerges in Rio Grande do Sul context from discursive practices positioning dance as a field of knowledge and school discipline. This identity is not stable; it is shaped with multiples experiences resulting from their dancing formation, dance academic courses and, chiefly, by the exercise of the profession in the everyday school, which allows them to construct ‘another’ dance from the process of curricularisation of this practice. This another dance cannot be categorised in one or other style, it has traces of contemporary discourses about dance, but is forged in the daily school restricted by substantive subjective walls of modernity disciplining, and by contemporary subjects circulating there. This intense relation urges the art/dance teacher to create particular ways of teaching for different realities we can call school, which demands continuous certainties in methodological terms. In this context, not only another dance, but also another dance teacher comes out of this unique experience at school.

A presente tese, Narrativas sobre o ensino da dança: caminhos tramados e traçados em escolas do Rio Grande do Sul, investiga como se constitui as identidades do professor de Arte/ Dança na escola diante do recente processo de curricularização dessa prática. A Dança contemporaneamente assume o status de área de conhecimento e saber disciplinar na escola, processo esse, desencadeado no Rio Grande do Sul, pela emergência de várias graduações em Dança nos últimos anos, assim como um conjunto de práticas que possibilitaram a realização de concursos públicos para o professor licenciado em Arte/ Dança. Dessa forma, selecionei a entrevista como a principal ferramenta para obtenção das narrativas das professoras que atuam ou atuaram em escolas de diferentes redes de ensino do Rio Grande do Sul. O material analítico consistiu nas narrativas de 9 professoras entrevistadas presencialmente e 1 através de email, entre 2012 e 2014; outros materiais como editais de concursos, acompanhamentos de nomeações, legislações e documentos foram também entremeados ao texto no sentido de atender a questão principal do estudo. A pesquisa situada no campo teórico dos Estudos Culturais em Educação na vertente pós-estruturalista, articulou-se com alguns referenciais da Dança e da formação de professores, e a partir de alguns conceitos chaves como identidades, narrativas e discursos procuramos realizar uma análise cultural, a qual nos possibilitou evidenciar que: uma nova posição identitária, - o professor de Arte/ Dança -, emerge no contexto sul-rio-grandense, a partir das práticas discursivas que posicionam a Dança como uma área de conhecimento e disciplina escolar. Essa identidade não é fixa, nem estável, é constituída por múltiplas experiências advindas de suas formações como bailarinos/ dançarinos, como acadêmicos da Dança e, principalmente, pelo exercício da profissão no cotidiano da escola, o que lhes permite construir uma “outra” dança decorrente do processo de curricularização dessa prática. Essa outra dança não é algo classificável em um estilo ou outro, carrega traços dos discursos contemporâneos acerca da dança, mas é forjada no dia a dia da escola, delimitada por suas paredes substantivas e subjetivas do disciplinamento da modernidade, assim como pelos sujeitos contemporâneos que nela transitam. Essa intensa relação tensiona o professor de Arte/ Dança a criar modos de ensinar particulares adequados às diferentes realidades que podemos nomear escola, a qual cobra continuamente certezas em termos metodológicos. Emerge então nesse contexto não somente outra dança, mas também outro professor de Dança advindo dessa experiência singular na escola. / The thesis Narratives about dance teaching: paths woven and designed in schools in Rio Grande do Sul investigates how Art/Dance teacher’s identities are shaped in the school amidst the process of curricularisation of this practice. Today dance assumes the status of field of knowledge and disciplinary knowledge in school, this process being unfolded in the state of Rio Grande do Sul through the emergence of many degrees in dance in recent years, as well as a set of practices enabling art/dance teachers to public selection exams. Therefore I selected the interview as the main tool to draw narratives by female teachers working in different kinds of schools in the state. Nine female teachers’ presential narratives, one through email between 2012 and 2014 made up the analytic material; and other materials, such as public selection exam announcements, assistance in appointments, legislations and documents were interspersed in the text to see the key question in the study. The research is located in the theoretical field of poststructuralist Cultural Studies in Education, and was articulated with some referentials of dance and teachers’ formation. Based on some key concepts such as identities, narratives and discourses, we have sought to conduct cultural analysis to show that with a new identity position the art/dance teacher emerges in Rio Grande do Sul context from discursive practices positioning dance as a field of knowledge and school discipline. This identity is not stable; it is shaped with multiples experiences resulting from their dancing formation, dance academic courses and, chiefly, by the exercise of the profession in the everyday school, which allows them to construct ‘another’ dance from the process of curricularisation of this practice. This another dance cannot be categorised in one or other style, it has traces of contemporary discourses about dance, but is forged in the daily school restricted by substantive subjective walls of modernity disciplining, and by contemporary subjects circulating there. This intense relation urges the art/dance teacher to create particular ways of teaching for different realities we can call school, which demands continuous certainties in methodological terms. In this context, not only another dance, but also another dance teacher comes out of this unique experience at school.

Studiens syfte är att öka kunskapen om hur danslärare i gymnasieskolan kommunicerar med elever under lektioner och hur de designar undervisningen för att skapa förutsättningar för lärande. I studien deltog tre danslärare från olika gymnasieskolor och datainsamlingen utfördes genom de kvalitativa metoderna videoobservationer och intervjuer. Materialet analyserades utifrån tematisk analys (Braun and Clarke, 2006) med ett multimodalt designteoretiskt ramverk. Studien synliggör den rika repertoar av teckensystem som danslärarna använder i interaktionen med eleverna. De kommunicerar genom olika kombinationer av semiotiska resurser, som rörelser, gester, beröring, blickar, hållning, ansiktsuttryck, tal och ljud. Genom en komplex väv av visuella, auditiva och taktila meningserbjudanden skapar danslärarna förutsättning för lärande. Ingen resurs framstår som hierarkiskt överordnad. Även förhållandet till rummet och musiken tycks ha en viktig orienterande betydelse i dansundervisningen. Resultatet visar på att lärarnas kommunikation och undervisningsdesign sker i relation till elevernas teckenskapande, gymnasieskolans inramning, danstraditioner, utbildning, erfarenheter, kroppslig kunskap samt personliga uppfattningar. Struktur och disciplin tycks prägla undervisningen och samtidigt som lärarnas kunnande och ledning lägger grunden för lektionens utformande har lärarna en tydligt elevorienterad intention och anpassar sin didaktiska design utifrån samspelet med eleverna. Genom erfarenhet tycks danslärarna utveckla ett seende för var eleverna befinner sig i sin lärprocess, vilket har betydelse för vilken typ av vägledning lärarna erbjuder dem. / The aim of this study is to increase knowledge about how dance teachers in Swedish upper secondary school communicate with students during lessons and how they design their teaching in order to create conditions for learning. Three dance teachers from different schools participated in the study and the data collection was carried out through the qualitative methods of video observations and interviews. The material was analyzed with the use of thematic analysis (Braun and Clarke, 2006) based on the multimodal theoretical framework designs for learning. The study makes visible the rich repertoire of semiotic modes that the dance teachers use in their interaction with the students. They communicate through various combinations of semiotic resources such as movements, gestures, touch, gaze, posture, facial expressions, speech and sound. Through a complex weave of visual, auditory and tactile meaning offerings the dance teachers create conditions for learning. No mode appears as hierarchically superior. The relationship to space and music also seems to be of importance regarding orientation in the dance class. The results show that the teachers' communication and teaching design relates to the sign making of the students, the school setting, dance traditions, education, experiences, bodily knowledge and personal attitude. Structure and discipline seem to characterize the teaching and at the same time as the teachers' knowledge and leadership lay the foundation for the design of the lesson, the teachers have a clear student-oriented intention and adapt their didactic design based on their interaction with the students. Through experience the dance teachers seem to develop a sense of where the students are in their learning process, which affects the type of guidance the teachers offer them.

En 2001, dans la foulée de la réforme scolaire, une deuxième génération de programmes d’études en danse a été implantée (Gouvernement du Québec, 2001, 2003, 2007). Alors que la représentation devant public est prescrite dans les programmes d’études pour le secondaire (Gouvernement du Québec, 2003, 2007), elle est quasi-absente du programme d’études pour le primaire (Gouvernement du Québec, 2001). De plus, il y a peu de recherches empiriques sur l’enseignement de la danse à l’école québécoise et aucune sur l’utilisation de la représentation devant public dans ce contexte. Or, les enseignants sont nombreux à y avoir recours de façon intuitive pour favoriser les apprentissages chez les élèves. C’est pourquoi, à la lumière de repères théoriques issus de modèles de la transposition didactique, du processus de création, des systèmes de pertinence et de la construction identitaire des enseignants de la danse en milieu scolaire, nous avons cherché à comprendre comment la représentation devant public est utilisée, en danse, au troisième cycle du primaire, à l’école québécoise. Pour ce faire, nous avons eu recours à l’observation, à la captation audio et aux entretiens pour collecter des données auprès de deux enseignantes en danse et de cinquante-quatre élèves du troisième cycle du primaire, pendant le processus de création de danses menant à la présentation devant un public. Nous avons ainsi pu dégager treize thèmes représentatifs de l’expérience vécue par ces enseignantes et ces élèves, ainsi qu’une ébauche de modèle du processus de préparation d’une représentation devant public en milieu scolaire. / In 2001, following the curriculum reform, a second generation of dance programs was implemented (Gouvernement du Québec, 2001, 2003, 2007). While performing in front of an audience is prescribed in the programs for secondary education (Gouvernement du Québec, 2003, 2007), it is almost absent from the program for primary education (Gouvernement du Québec, 2001). Furthermore, there is little empirical research in the field of in-school dance teaching in Quebec, and none tackle the use of performance is this context. However, many teachers use it intuitively to promote students’ learning. Thus, enlightened by theoretical marks from models of didactic transposition theory, the creative process, the relevance systems theory and the identity construction in dance teachers in the school environment, we aim at understanding how performance is implemented, in dance, in Quebec’s schools, for kids from 5th to 6th grade. To do so, we used observation, audio recording and interviews to collected data from two in-school dance teachers and fifty-four of their students from 5th to 6th grade, while they were creating dances which would be performed in front of an audience. We were then able to extract thirteen themes representing the teachers’ and students’ experience of creating dances to be performed in front of an audience, and we developed a draft of a model of the process of preparing a performance.

In 2002, the Queensland Schools Curriculum Council launched the Years 1-10 Arts Syllabus as one of the eight Key Learning Areas. This syllabus requires primary teachers to provide arts learning programs in the areas of Dance, Drama, Media, Music and Visual Arts. This syllabus was a landmark for arts education in Queensland as it became a mandate for primary teachers to teach each strand of the arts. This move is one of many recent changes in arts education evident across the globe reflecting a common move towards a broad arts education in schools. In alignment with the mandatory requirement of the Years 1-10 Arts Syllabus, primary teachers are now required to teach Dance, a subject which most have had little to no training or professional development in. This thesis will explore the research question, 'Which strategies used in professional development build competence and confidence in primary teachers to integrate dance in the primary classroom?' Through a series of school-based professional development workshops conducted at two Gold Coast primary schools, the research project utilized an action research approach (Kemmis, 1988) to investigate the effectiveness of this professional development approach. After collating and analyzing the data gathered from these two research sites, a number of key themes emerged around the initial resistance factors to dance professional development and the integration of dance learning in the classroom as well as the impact and influence of this professional development on teachers' competence and confidence. The research identified a range of professional development strategies including learning experiences, structures, resources and conditions that have impacted on the effectiveness of this professional development. Some of these strategies are dance specific while others are more generic and have broader implications for the development and facilitation of professional development of Queensland primary teachers.

Fokus för studien är danslärares förståelse och bruk av mentala träningsprocesser i dans­undervisningen. Syftet med studien är att beskriva hur danslärare, vid gymnasieprogram och yrkesprogram för dans i dag, arbetar med metoder som indikerar mental träning. Vidare är avsikten att skapa förutsättningar för kunskap om mental träning i danslärares undervisnings­praktik. I studien har jag valt att arbeta med blandade metoder. Detta möjliggör en kom­binerad kvantitativ och kvalitativ studie. Jag har genomfört en enkätundersökning, samt en kombinerad observation och intervjustudie med danslärare på gymnasieskolans estetiska program och på yrkesprogram för dans. I resultatet framkommer att danslärarna helt eller delvis saknar utbildning i mentala tränings­metoder och därmed de teoretiska verktyg som en holistisk undervisning kräver. Detta indikerar att danslärarna saknar teoretiska verktyg för att medvetandegöra vikten av mental träning, men att de aktivt arbetar didaktiskt med danselevens mentalt utmanande tränings­processer. När danslärarna har teoretiska verktyg kan de benämna de mentala träningsmetoder de tillämpar och begreppsliggöra de mentala träningsprocessernas betydelse. På så sätt med­vetandegörs danseleverna om de mentala träningsmetodernas betydelse vilket skapar förut­sätt­­ningar för en hälsosammare dansprofession. / Dance teachers’ practice and understanding of mental training processes in dance teaching is the focus of this study. The aim is to describe how dance teachers, in high school programs and on vocational programs for dance today, work with mental training processes. Dance teachers need theoretical and practical knowledge of mental training, to enable dance students’ awareness of how they can handle stressful situations as dancers. The purpose of this study is to increased knowledge about mental training in dance teachers’ teaching practice. I have conducted a mixed method study, with a survey, and a combined observation and interview study. This enables a combined quantitative and qualitative study. The dance teachers in this study relates to how dance students express mental states. The teachers use didactic working methods that show how mental training methods works. This indicates that dance teachers actively work with mental training processes but lack theoretical tools to raise awareness of the importance and benefits of mental training. Dance teachers that can name the mental training methods they apply and conceptualize the significance of the mental training processes for the dancer. Mental training methods enables a possibility for dancers to reach a healthier dance carrier.

Dance teaching as embodied multimodal practice A study about communication and interaction in dance teaching. The overall aim of this study is to increase the knowledge about how communication and interaction between students and teachers is manifested in dance teaching and learning, with a special focus on the students’ agency and how that can be assumed to affect their conditions for learning. In a dance class, teachers and students engage in the dance practice by using different semiotic modes of communication; body movements and gestures, touch, hearing, gaze, sound and speech. The teaching and learning situation can be described as a complex multimodal configuration of signs in different time and space based modes. The object of study is to examine students’ and teachers’ interaction and communication in detail, with a focus on how different semiotic resources are being used and how that affects the design of the dance class. The data consist of video recordings of dance classes in dance college education and more specifically the daily dance practice, the dance class. Video recordings were made in jazz dance, contemporary dance and ballet classes. These genres are, in various degrees, bearers of a tradition of dance teaching where students repeat the movement material that the teacher demonstrates. I base my choice on the fact that this is a common way of teaching dance both in dance college education and elsewhere.  By using a multimodal analysis, different modes of communication and their interplay were brought into focus. Employing the perspective of a social semiotic multimodal theory the analyzed data were interpreted and discussed.  The result has shown the importance of the body in communication and interaction between students and teachers in dance teaching and learning. Communication and interaction involve and combine different embodied semiotic resources. Signs are being made, interpreted and remade/redesigned with, through and in the body. The way the teachers use their voices in combination with body movements and gestures in instructions and feedback, makes these resources appear hierarchically more important than the verbal language. The result shows that the students make rhetoric choices in their learning processes. It is shown by the way they choose to attend to what the teacher communicates. The students’ choices in responding are mostly by showing how they understand. Further the results show that the teacher is responsible for the overall design of the dance class. The study material consists mostly of movements that the teacher has created in relation to a genre’s esthetics, the teacher chooses what aspects to focus on and how time is disposed. The students’ agency seems limited in terms of how they can affect and influence the design of the dance class. This means that the knowledge that is produced to a great extent is dependent on the teacher’s choices, her esthetic values and her own knowledge. From a didactic point of view this needs to be addressed in dance education in terms of how dance classes are designed, it concerns questions of esthetics, values and power.

Dansundervisning som förkroppsligad multimodal praktik En studie om kommunikation och interaktion i dansundervisning. ABSTRACT Dance teaching as embodied multimodal practice A study about communication and interaction in dance teaching.   The overall aim of this study is to increase the knowledge about how communication and interaction between students and teachers is manifested in dance teaching and learning, with a special focus on the students’ agency and how that can be assumed to affect their conditions for learning. In a dance class, teachers and students engage in the dance practice by using different semiotic modes of communication; body movements and gestures, touch, hearing, gaze, sound and speech. The teaching and learning situation can be described as a complex multimodal configuration of signs in different time and space based modes. The object of study is to examine students’ and teachers’ interaction and communication in detail, with a focus on how different semiotic resources are being used and how that affects the design of the dance class. The data consist of video recordings of dance classes in dance college education and more specifically the daily dance practice, the dance class. Video recordings were made in jazz dance, contemporary dance and ballet classes. These genres are, in various degrees, bearers of a tradition of dance teaching where students repeat the movement material that the teacher demonstrates. I base my choice on the fact that this is a common way of teaching dance both in dance college education and elsewhere.  By using a multimodal analysis, different modes of communication and their interplay were brought into focus. Employing the perspective of a social semiotic multimodal theory the analyzed data were interpreted and discussed.  The result has shown the importance of the body in communication and interaction between students and teachers in dance teaching and learning. Communication and interaction involve and combine different embodied semiotic resources. Signs are being made, interpreted and remade/redesigned with, through and in the body. The way the teachers use their voices in combination with body movements and gestures in instructions and feedback, makes these resources appear hierarchically more important than the verbal language. The result shows that the students make rhetoric choices in their learning processes. It is shown by the way they choose to attend to what the teacher communicates. The students’ choices in responding are mostly by showing how they understand. Further the results show that the teacher is responsible for the overall design of the dance class. The study material consists mostly of movements that the teacher has created in relation to a genre’s esthetics, the teacher chooses what aspects to focus on and how time is disposed. The students’ agency seems limited in terms of how they can affect and influence the design of the dance class. This means that the knowledge that is produced to a great extent is dependent on the teacher’s choices, her esthetic values and her own knowledge. From a didactic point of view this needs to be addressed in dance education in terms of how dance classes are designed, it concerns questions of esthetics, values and power. Keywords: dance teaching and learning, communication, interaction, multimodality, semiotic resource, design